To understand Pasolini's significance in the panorama f post-war Italian and European culture, and indeed to understand the exploitation f his figure during his life and since, requires us to look upon and through the refracting filter f self-exploration that covers his every act, in person or in language.
While discussing the Pasolini's liking for experimentation, one only has to contemplate the vertiginous formal variety f his composition: his poetry, novels, plays, screenplays, films, essays in criticism, journalism, and even songs; his work in Friulan and Roman dialects, and a number f hybrid dialects f his own creation, as well as standard Italian; his voracious, if always flawed, imbibing f philology, Marxism, theology, semiology, anthropology and psychoanalysis, among other disciplines; and his constant fascination with mixtures f all f these, perhaps epitomized in his much-used formula 'x in forma di y' (e.g. 'poesia in forma di rosa', 'romanzo in forma di sceneggiatura', etc.). To attempt to give a taste f the scale f introspection in his work, by contrast, would be otiose, since self-expression--more or less overt, strategically deployed or agonistically suffered, whether cast as pure impulse or pure rhetoric--is everywhere in his work.
Were it simply a question f quantity, however, were Pasolini's art no more t ...